This dissertation will be investigating smart technology and how it is incorporated into fashion, its origins, the concept behind it and the direction in which it is headed. There will be research into current designers and brands who have popularised the trend of wearing the technology we depend on, primarily referring to the work of Author Bradley Quinn, who is an expert in the field of future trends and exciting innovative materials, he has written books such as “Techno Fashion”,” Ultra Materials”, “Textile Futures”, and “Fashion Futures”, but I will predominantly be using “Fashion Futures” as a main text to refer to. There will also be research into those with contradicting views on the subject, and different outlooks on the validity and usefulness of the idea as a whole, but again, condensing the majority of my research into looking at Professor Helen Storey who has been the brain behind projects such as “Catalytic Clothing”, fashion that purifies the air around us and “Dress for our time” an emotive collection of pieces using technology in clothing to communicate some of the world’s most prominent issues. She also writes strongly about the effect this kind of fashion has on global warming.
Talking passionately about this subject on a guest Blog on WGSN she says, validating the link between fashion and the environment
“But it is precisely the scale of effect our industry has on the environment that makes it potentially one of the fastest ways to upscale and deliver essential changes. “. (Storey, 2015)
When looking into designers who are leading the way in terms of innovative techniques using technology in fashion, I will base the majority of my research around new and up and coming designers, as they are the ones using the resources most freely and effectively. High profile designers such as Hussein Chalayan have used technology as part of their designs, for example Chalayan’s collaborations with Swarovski both in Autumn/Winter two thousand and seven where he presented his show titled ‘Airbourne’ (Figure 1) whereby he featured his video dresses made by fitting around fifteen thousand LED’S imitating pixelated screens portraying images as though seen from Google Earth.
He also displayed his love for pushing boundaries of fashion using technology in his collection ‘Readings’ (Image 2) of spring/summer two thousand and eight in collaboration with Nick Knight where models were dressed in lasers which emitted lasers with the intention of representing “the interplay between a scrutinized figure and the audience which keep that interplay alive” (Stansfield, 2016)
The main focus of this investigation however, will be focused in looking deeply into the garments that aim to impact on our environment and personal well-being and expanding on these influencing sources by conducting expansive primary research including a personally conducted questionnaire, and delving into the world of futuristic fashion trends to conclude on the sustainability, effectiveness and its potential in the future.
Origins of smart fashion
Although we may consider technology within fashion to be a relatively new and exciting concept, it has in fact been around for years, early examples could be seen as early as the 19th century through such things as illuminated and motorised necklaces and costumes. Modern examples exercise the intent to make effect on a global scale and aim to provide solutions to problems we, as consumers, are facing, however, earlier examples tended to be used mostly for decorative purposes.
One of the earliest uses of electronic textiles was for medical use. Smart shirts, developed by Sundaresan Jayaraman and patented by Georgia institute of technology were specifically designed with military purpose in mind whereby the shirt could calibrate Heart rate, body temperature, and respiration and send the information back in real time to be monitored. This technology more recently has been extended into more modern garments, for example Designer Thomas Martin has been able to use similar technology and incorporate it into a range of sportswear like garments in which the clothing monitors movements and shapes of the wearer. These garments highlight important uses of a technical garment for use in such unpredictable and physical pursuits such as in war or high pressure medical situations which with increasing risks of terrorism and threats to personal safety is a more and more applicable situation… the garments will be able to monitor itself at the same time as monitoring its wearer. Examples highlighted in ‘Textile Futures’: rolling up a sleeve therefore cutting off a pulse monitoring system, the garment would be able to reroute itself to find an alternative. Or a situation where power is lost for example, the garment can continue to proceed with its purpose regardless.
Moving on to 1968, the Museum of Contemporary Craft in New York Exhibited “Body Covering”, presenting inflating and deflating garments, but the primary exhibition showed the work of Diana Dew, who created a line of glowing party dresses using L.E.D’S and belts that could sound alarms. As technology advanced and fashion became more free the designers became more aware and able to respond to issues and in compliance the garments started to become purposeful and intentional.
Thought to be one of the first examples of commercial wearable technology was the collaboration in 1999 between Phillips electronics and Levi Strauss, where the wearers were able to use a remote-controlled microphone which was within the collar that could be used with mobile phones and digital MP3 players
This was the start of a dramatic increase in the availability of technology in fashion, for example, North face’s heat generating MET5 Jacket (figure 3) and the hug shirt, again monitoring body temperature along with heart rate. Concluding this report, now, this technology seems relatively basic and ‘old fashioned’, however these inventions were ground-breaking at the time, this can be seen by some of the reports as a result of the projects.
“If this jacket sounds like something that exists only in 007’s closet, make no mistake: Philips and Levi’s are about to launch it commercially next month in 40 of Levi Strauss’s high-end fashion boutiques in cities such as Paris, London and Milan.” (Latour, 2000)
The technology and ways it’s been used
Health:
With smart technology having been around for years, it was almost inevitable that it would result in a powerful fashion trend with almost every other aspect of modern day life being incorporated into our wardrobes. There are many exciting and innovative designers pushing the boundaries of design and the ways in which technology is embedded into fashion. Between them they are seemingly creating routes to solving universal issues, such as the new designers Nien Lam and Sue Ngo’s pollution monitoring garments, (Figure 4) whereby, when the garment detects higher levels of Carbon Monoxide it changes colour or pattern slightly to warn the wearer.
Helen Storey is passionate about both fashion and science and has undertaken various projects linking fashion, technology and global warming, probably unintentionally but fittingly in response to the previously mentioned pollution detecting garments. Helen, alongside Chemist Tony Ryan created a project in association with both Sheffield university and The London college of fashion called “Catalytic Clothing”, and in particular a dress called ‘Herself’ in which she created in collaboration with Trish Belford of Ulster University, in which the dress cleverly entwines air purifying filters within a dress (Figure 5) which tackles the issue of air pollutions a result of global warming. “Catalytic Clothing explores the use of an existing Nano technology in an entirely new context, combining the power of science and art to tackle a global challenge. Air pollution is currently expected to reduce the life expectancy of the average UK resident by 7-8 months.” The project also consisted of a series of art installations, in 2011 she showed Field of jeans in Sheffield, London, Durham, Manchester, Edinburgh and Copenhagen. “Jeans are chosen both for symbolic reasons due to their ubiquitous role in urban attire and for practical reasons because the technology proves to be particularly effective when applied to indigo denim.”
Also in 2011 “The film” was made a hugely successful viral campaign reaching over 173million people worldwide. And in 2012 the living map was created (figure 6) recording the progress of the project. Helen feels that change can happen but to inspire society to take part they need to be inspired creatively, which is why she creates these artistic works, “The efficacy of the technology is only apparent when mass adoption is achieved and so Catalytic Clothing uses art and design to inspire the citizen action that is needed to realise the potential that science offers.” (CSF, Year unknown)
She has also undertaken her own project called ‘Dress for our time’ (Figure 7) which when finalised will be one of a series, the first of which as a response to climate change, it was first displayed at St. Pancreas thoughtfully placed at a time and place where the United Nations Climate Change conference took place. Digitally displayed data was shown within the dress exhibiting our world as it will be if nothing is done to combat the issue. Dress for our time is a hugely emotive and impactful dress made from an unusable refugee tent representing a global need for harmony. “The dress itself is made from a tent (which is no longer in useable condition) gifted to the project by the United Nations High Commissioner for Refugees (UNHCR). In giving the tent a second life it gives this public art installation an unbreakable bond to humanity and represents the importance of nurturing and protecting all people and safeguarding generations to come. It is a powerful symbol of what it means to be human and the precarious nature of our existence.” It has been shown more recently in the science museum as chapter 2 of the installation. (dress4ourtime.org, 2016)
Functionality:
More recently, on November 2nd of this year Avery Dennison, a care label manufacturers unveiled the release of their smart bomber jacket at the Decoded fashion summit, it is called the bright BMBR, created in collaboration with Rochambeau and Everything – designers of ‘Internet of Things’ applications, linking everyday products to the web, and creators of ‘Janela’ the software the jacket will run on – The jacket is fitted with a near-field communication chip, the same technology used to make contactless payments with a phone possible, and individual QR (quick response) codes which allows the garment to act as a VIP pass to special events in New York, such as a tasting menu at Toro, a ‘New release’ art gallery tour, and exclusive clubs. It Will also allow entry to Rochambeau’s next catwalk show and it will unlock gifts at certain places, such as signed artworks inspired by the jacket. Fifteen of these jackets are being sold initials, at $630. The plan is to eventually be responsible for connecting ten billion garments and accessories to the internet using the same Janela platform.
Avery Dennison envision a future of highly advanced technology for these products, such as a scannable tag embedded within the sleeve that activate a option menu on your phone allowing you to see details about the jackets sustainability, design and the factory the jacket was made. They also see a vision of washing machine interactions whereby the jacket will be able to automatically set the right setting. Although machine washable versions do exist, Rana Sidahmed Avery Dennison’s global creative director had said they are too expensive to release widely so currently the chips are removable.
Some designers disagree with the apparent take over by smart technology, In contradiction to these designers using the technology to inflict knowledge, Japanese designer Kunihiko Morinaga, commissioned by Trident gum, created ‘Focus life gear’ in which he uses specially designed fabrics, with the specific intention of cutting off all electromagnetic waves that would allow a mobile device to get any signal. “the idea is protection from the virtual world,” The collection was made in response to the thought that “while the introduction of the internet and smart phones has made things very convenient, we are spending a lot more time in this ‘virtual world’ even when we are with real people.” (Bogle, 2014)
Other Medias:
Although this investigation focuses primarily and heavily on fashion, it is worth mentioning the technology used in other ways to inspire change. Artist Nazia Mestaoui, part of the Electronic shadow Duo, recognised as the designers of video mapping, a process mixing spatial and imagistic art, she was the artist behind the ‘1 heart 1 tree’ project (Figure 8) in which people around the world had the opportunity to see their message and name on the Eiffel Tower and other iconic Parisian attractions, they could also see their own personal virtual tree originated from their heartbeat, and every virtual tree grown a real one is planted as part of deforestation projects. Currently 53356 trees have been planted as a result of her work and there is the possibility to extend it to other cities. Similarly, to Helen Storey, her intention with this project:
“destined to improve living conditions locally and fight the effects of climate change” (Mestaoui, 2017)
Another artist is Barry Underwood, with his project “electric landscape” where he uses LED lights and luminescent material along with photography techniques to create imagery (Figure 9) influenced by light both intentional and natural. Underwoods intention is two fold, both to raise awareness of light pollution and theatricality,
“My attempt is to portray environmental issues that are not delivered in a heavy-handed way. Rather in a way that draws attention in a pleasing way, then if contemplated could unfold a message of dissidence or a natural discord.” (Johnson- Interview with Barry Underwood , 2014)
Advantages/Disadvantages (1000)
Whilst researching, there has been a profound lack of negative responses to technology in fashion. However, one issue Bradley Quinn talks about in “Textile Futures” is the danger of having currents so close to the body.
“Concerns about the health risks associated with wearing batteries and other power sources in close proximity to the human body questions the viability of these fabrics”
However, further on in the same text Quinn suggests there is already the beginnings of a solution to this through the use of UHF chips, facilitating faster data transfer speeds and longer ranges whilst minimalizing the actual technology required in the garment to make it practical.
In a world where 100% of the population will be effected by climate change and consequential environmental issues, the possible beneficial impact of technology in fashion to both control and diminish the resultant effects cannot be disputed as an obvious advantage. This, alongside the ever- growing consumerism of modern fashion across the vast majority of the world suggests a win win situation.
One questionable factor to consider: is the attainability of technical fashion truly viable in a world of recession? Can designers afford to produce the level of research and development required to construct a utopian fashion forward market? Will it be attainable to enough consumers to make a significant difference?
One advantage suggested, as a result of E-textiles,is that it may be a solution to the uprising of fast fashion, which to some people is seen as a big problem in the fashion industry. Elizabeth Cline in her book ‘Overdressed’ describes it as,
“we are caught in a cycle of consumption and waste that is unsettling at best and unsatisfying at its core”, Bradley Quinn goes into detail about the strengthening of fibres used in garments so that technology can be easily incorporated into them which improves the longevity of garments and provides a solution to our throw away and replace culture.
Within ‘Textile futures’ one section talks about the fact that when e-textiles becomes part of our everyday life we will no longer be able to differentiate ourselves wholly from robots, that labels such as natural and artificial or body and dress could mould together and become an entirely new concept of fashion. In 1998 Professor Kevin Warwick had a chip inserted into his arm, and recorded his experience with outside elements etc. He describes it in his article “Cyborg morals, cyborg values, cyborg ethics” – ‘If I had to draw one conclusion from my experience it would be that when linked with technology inside my body, it is no longer a separate piece of technology’
There is no suggestion that this is either advantageous or otherwise, however, as a consumer and wearer of fashion, the idea is on one hand quite unsettling, to believe that we can be recognized more appropriately to a machine rather than a human, yet, on the other, quite exciting and radical that, in our lifetime, technology has made such a huge developmental leap so that our clothing becomes more a part of us than ever, living up to expectations of utopian futuristic film worlds such as “Minority Report (2002).”
In a survey conducted by the author, when asked “do you agree with this- “technology embedded into our clothes makes the wearer more comparable to machine than human being””. The general consensus was No with 28 of 36 responses, going on to press the idea, as It seems a very real probability in the future and I wanted to hear the raw, real reactions of such a affecting prospect , In response to the suggestion we may be closer to machine than human being the general response was that people found this quite a scary prospect. They feel that technology is moving too quickly and that as a race we need to catch up before it does begin to take over. However, 19 of the same 36 participants suggested they would then go on to purchase an item of wearable technology.
In a more relatable issue surrounding e-textiles, particularly surrounding those which rely on chips or embedded circuits etc, much like the Bright BMBR, electrics obviously cannot make contact with liquids therefore can not be machine washable, and if the garment does tear or rip for some reason this could both damage the technology and void its purpose but could also become dangerous to the wearer.
Future of smart fashion
Possibilities for technology in the future are essentially endless, there is no saying what might occur in years to come. In terms of Fashion though, Bradley Quinn sees visions of superior technology in some cases where garments con both save and change lives, “A shirt for the blind for example, could be woven with indicators that provide warnings about approaching objects. Workers in the chemical industry could wear overalls that smell leaching toxins and detect them before they case harm to the wearers”
Even though the first real example of functional tech fashion was of a medical decent, most of the suggested developments seem to be within the same ball park with intention to save lives in some cases or at least prevent deterioration of patients in others. Medical researchers interpret robotic exoskeletons as ‘the prosthetics of the future’ providing mobility assistance, or literal replacements of limbs. There are many anticipated uses for e- textiles within the medical field, just a few are; detecting pre symptoms of a seizure, cerebral palsy sufferers could have changes in their condition identified. Fabrics that can release medications and medical preparations – currently being pioneered by Japanese textile manufacturer Fujibo and, lastly, smart bandages minimalizing risk of infection and speeding the healing time considerably.
In the book ‘Understanding Depression’ by Paul Robbins, a number is put forward that seventeen percent of a study of 9000 Americans have experienced depression in their lifetime, a number that was over three times larger than it was in the 1980’s. And it is likely to have further increased since. This is why another quite prominent issue to combat through the use of e textiles is mood enhancing garments. A currently patented idea put forward by Microsoft is the ‘mood shirt’ where if the tiny sensors connected to actuators detected – for example – over heating or perspiration, symptoms of stress- it would trigger cooling systems. Or play a ‘Happy song’, if the wearer presented ‘symptoms’ of sadness. Although titled mood shirt, the idea put forward is the garment be personalised depending on the wearers requirements.
‘The smart garment is designed to be set up according to an individual’s needs.’ (Griffiths, 2016)
The example given is if the wearer is autistic they could add a micro pump to apply light pressure to the wrist, a technique used to relieve stress of sensory overload. This, in response to the depression study previously talked about could be a ground breaking technique to combat general unhappiness.
Wearable technology has also been adopted into the comic book world and in essence presents the possibility of the wearer gaining ‘superpowers’ in some instances. For example, iron man, (Figure 10) who wears an exoskeleton suit to win all his battles. This of course is in exaggerated form but the once very unrealistic fantasy of becoming a real life superhero is now a possibility not so far into the future.
A large majority of answers within the previously mentioned survey were seemingly unaware of many advances of e-textiles with some showing knowledge of smart watches, google glasses etc. in terms of clothing it is an area that in general is very unexplored and unknown. Some respondees talked about water resistant fibres and the hug shirt and that was as far as their knowledge on the subject extended.
Answers to ‘What would you like to see e-textiles used for in the future?’ Got some quite interesting results with an array of ideas, some which are already in existence for example “medical analysis”, and “temperature regulation” but some new ideas. (Refer to Appendix) The majority of which fit into 3 categories. Safety: “warning devices in times of physical attack” “increasing safety and enhancing performance of public service and military personnel.” “I could see benefits for people with disabilities, something along the lines of sensory fashion?!” Personal comfort: “weather protection”, “Fabrics that have the ability to regenerate when they get worn out”, and gadgetry: “small lightweight solar panels to recharge phones/iPod etc. when out and about”, “I want to see integrated systems for mobiles and tablets in clothing”.
Conclusion
Drawing from the research carried out over the course of this investigation I believe the general outlook is that technology within fashion is very much edging its way into mainstream fashion, currently very quiet it is soon to make huge breakthroughs that everyone will both enjoy and benefit from.
Another conclusion I have drawn particularly from the survey is that society is very much uninformed on the subject of e textiles and smart fashion. And until people are more aware of the benefits and opportunities available to them they will continue to be scared or apprehensive to fully adopt these garments into their daily life.
There are still areas for development and improvement but the vast diversity of ideas and uses that will be available seem to imply only positive effects.
In the end, we don’t want to live in a digital world; we want digital connectivity to give us a better real world – Evrythng
“We won’t need wearables,” she said, “It will just be in our clothes.” – At a Nov. 10 conference by the trend-forecasting firm WGSN, Andrea Bell